Fourteen years of learning to hear where a story actually is. An eye for the frame is common enough. The harder thing is sensing which thread is worth following, and noticing when a project has quietly become about something better than the one you were sent to make. That instinct is the part of the work I care about most, and it is usually what lifts a film above the brief. Because I shoot and produce as well as direct, I can act on it on set instead of describing it to somebody afterwards.

Work has been broadcast by CBC, BBC and VICE, following three years producing at VICE Media where my team delivered 88 documentaries and 21+ live broadcasts a year. I have filmed in 21 countries.

I started working with generative AI early, before there was much of a playbook, which means most of what I know came from testing rather than from being taught. Some of my work is made entirely with those tools, start to finish. On other productions I use them to cover what a camera can't practically or affordably reach. I'm wary of overselling it. It doesn't replace the craft and it doesn't rescue a weak idea; what it does is widen the range of what one person can attempt. I care about data sovereignty, own my infrastructure, and believe creators should control their work end to end.